Video games’ worlds allow us to travel to distant realms, explore new spaces, encounter strange creatures and, among many other possibilities, listen to sounds and music that bind all together. From narrative clues to setting the tone, music plays a central role in establishing direct connections between spaces and tasks and by stressing the dichotomy of exploration and combat game modes. Although this duality is common in many game genres, specific titles develop their own unique sonic language: the Soulsborne franchise is known for its difficulty, cryptic narrative and for featuring music almost exclusively in particular moments of the gameplay—boss encounters and cutscenes. Set in a medieval and dark fantasy setting, its musical style emphasises the uniqueness of each narrative moment, articulating the role of sound in the symbolic definition of each of the gameworld’s spaces. The success of each franchise’s instalment was further consolidated by the launch of Elden Ring. Despite sharing many traits with its predecessors, Elden Ring took on a more similar musical approach to a standard RPG, providing an open-world experience with the presence of non-diegetic music in almost every situation. Even so, the musical language, the uncanny atmosphere and the sonic valleys are elements shared in both instalments and that is fundamental for these games’ distinct traits. This chapter examines the interplay between the soundscapes of Elden Ring and Dark Souls, exploring their stylistic similarities and functional distinctions. Both games use carefully crafted audio design to shape their fictional universes and musical identity, drawing on medieval audiovisual tropes to foster player agency and enrich their affective engagement during their journey throughout the narrative.